Tuesday, October 23, 2018

Satinet

Satinet - A Nineteenth Century Fabric

While at the Textile Society of America Biennial I attended a presentation by Peggy Hart, a weaver and author of Wool: Unraveling an American Story of Artisans and Innovations, 2017.

The subject of her paper was a fabric manufactured in the early industrial period in the mills of 18 cities in New England, called satinet. Production began in 1820 in the Capron Mill located in Uxbridge,  MA.  According to Hart, the fabric was woven commercially from 1820 to the 1860's with a cotton warp and woolen weft.  Initially woven on hand looms and then on modified cotton power looms in  NE mills with production spreading westward .  Production was usually locally marketed as fabric for whaling and sea-going outer wear and later for water-proof military uniforms and workingmen and women's clothing.  Suddenly available machine spun cotton for warp and the introduction of Merino wool in 1820 for the wool weft increased the availability.  However the invention of woolen looms that could produce all wool fabrics, said Hart, gradually replaced satinet with flannel, kersey and other woolen fabrics.



Constructed in a satin weave with a smooth, somewhat luxurious hand, but unlike satin with its cotton warp and wool weft.  The weft or filling threads form the face of the fabric.  It is finished as a wool and undergoes a fulling process.


One of the benefits of attending this large symposium is the opportunity to acquire information on a huge variety of subjects on which one might not be familiar.  Thank you Peggy.

Wednesday, September 26, 2018

TSA 16th Biennial Symposium

Textile Society of America

I just returned from Vancouver, Canada having attended the 16th Biennial Symposium of the TSA.  Although many papers are  presented on various subjects there is always an underlying theme to the symposium.  This year was entitled "The Social Fabric:  Deep Local to Pan Global".









Deep Local, "defined as knowledge, beliefs, resources and practices that are profoundly anchored in particular communities and places, which reflect not only the cultures of the original inhabitants but also those of later settlers."  The intent of the discussions was to "probe the impact and influence of settlers and immigration on an already long-inhabited land, and how textile traditions have been influenced, changed, and/ or adapted through and by cultural contact."  (Program Guide)

Globalization is a critical factor in our lives.  It affects commerce and trade, economic and job development and our ability to connect with peoples throughout the globe.  Introducing the concept of globalization to those communities strongly rooted in the traditions of the Deep Local is a challenging endeavor, but one of great importance, not only to that local community but to the greater whole.  We can no longer claim the superiority of our particular beliefs and customs when there is so much to be gained by sharing with others.  There is a wealth of knowledge to be explored and technology is available to enable us to discover and engage  with those who may enrich our lives.
We must not allow political, bureaucratic policies to obstruct our  endeavors to merge local traditions with global interests. 

Sunday, August 5, 2018

Paracas Necropolis and the Paracas Mantle

Pre-Hispanic loom and Textile of the Paracas culture of Southern Peru


Paracas Textiles

Paracas, from the Quechua language of the Quechua people of Peru and parts of Bolivia, Chile, Equador, Colombia, comes from "para-ako" which means "sand falling like rain".  The Paracas flourished on the south Pacific coast of the central Andes in Peru around 600-150 B.C.E.  It is one of the earliest known complex societies in South America.

In the ancient burial grounds on the Paracas Peninsula the dead were wrapped in layers of textiles into "mummy bundles".  The largest and richest bundles contained hundreds of brightly embroidered textiles, feathered costumes and jewelry, as well as food offerings.







Over the course of several years the noted Peruvian archaeologist, Julio Tello, recovered 394 such bundles.  Because of the hot, dry nature nature of the peninsula everything they found was in a remarkable state of preservation.




The Great Paracas Necropolis was discovered by archaelogosts during the 1920's.  This vast communal burial site held 420 bodies.

The Paracas Textile is a complex mantle or cloak, most likely a ceremonial object.  It measures 58 1/4 x 24 1/2 in.made from camelid fiber and cotton.  Mantle consists of 90 individual, colorful figures decorating a border.  the border of 3 dimensional figures are embroidered in cross-knit looping. The interior cloth is simple, possibly of an earlier date. Cross-loop stitch flowers join the border to the central cloth.









There were, of course many other textiles excavated from the Necropolis.

Paaracas Necropolis Embroidery, a mythological demon carrrying a trophy head










Wednesday, August 1, 2018

Burial Cloths- The Paracas Textiles


Burial Cloths

Textiles are fragile, ancient textiles are exceedingly so. It is remarkable that there are any extant, ancient textiles surviving to tell their story. These fragments of cloth were created from natural materials, which suffer from climate variations, moisture and the ravages of insects and vermin. So where is it that these survivors were, and still are, being found? One source is burial sites. The mummies of Urumchi, and their coverings, were preserved, according to Elizabeth Wayland Barber, by being buried during the winter months in the Asian desert, sort of “freeze-dried”. Some early burials in Europe were preserved in peat bogs which prevented oxygen from penetrating the corpse bundle. We are familiar with the ancient Egyptians whose mummification practices and burial tombs survived for centuries.

All these sources remained intact until the arrival of tomb raiders and looters. Naturally, one would choose to collect jewelry, pottery, coins and such rather than fragments of cloth. After all, the looters had to satisfy their clients with display-worthy trophies. But if you are thinking that these bands of entrepreneurial ghouls , in the dark of night, risking all to eke out a living for their families are the only culprits, you are ignoring the professional grave robbers, many archaeological expeditions of the past.

Universities and their museums depend upon wealthy patrons.  In the past patrons gained much social status by donating collections as well as monies for buildings to house them to which they appended their name.  The people of the Victorian age were extremely interested in natural history, as witnessed by the overwhelming number of objects displayed in drawing rooms, libraries and almost everywhere there was an open surface.  Definitely a "more is more" philosophy. The excavation of the tomb of King Tut brought "amateur archaeologists" and their families in droves to dig sites, often supervising the sites themselves with little knowledge about proper catalogue procedures.  The result of their efforts were trunk-loads of artifacts removed from the site to their homes.  Government-sanctioned expeditions "invaded" countries and , in the name of preservation  and education literally stole the heritage of the native people. This looting continues today.

The reason for this blog is my research into Pre-Hispanic textiles of Peru Some burial sites contain hundreds of textiles.  One of the most famous is the Paracas Necropolis. The Great Paracas Necropolis was discovered by archeologists in the 1920's, a burial. site containing 420 bodies, dating 300-200 BCE .  Julio Tello, the Peruvian archaelogist began excavating Paracas after witnessing looted textiles in the Lima antique markets.However, in 1930 he was forced to abandon Paracas to the looters who exported antiquities illegally abroad.  It is reported that the Swedish Consul General in Peru exported  textiles to Sweden to form what is known as the Gothenburg Collection.  Due to questionable exhibition and storage conditions many of these textiles are in very poor condition.  Although Peru wants these textiles returned, like many countries seeking to reclaim their properties, this is not going to happen.

Next blog we will look at the famous Paracas textiles.

Saturday, June 9, 2018

Synthetic Microfiber Pollution.


As Fibers Seep into Water, States Seek Warning Tags
    By Lindsey Rupp
    Bloomberg News

I have written before about the contents of the book “Fashion Victims” in which author Alison Matthews David  writes of the "dangers of dress, past and present".

I think many are not aware that there are dangers in the clothing we purchase and wear. Perhaps, we assume that care and warning labels are sufficient, although I would guess not many buyers are even aware they exist (unless they are scratchy, and then they are snipped from the garment).  Or it may be that the government with its thousands of protective concerns for us and the environment  may be cognizant of dangers and are actually doing something proactive (not that I believe that!)

I read the above article this morning and have never considered the problem of shedding microfibers.  It seems that researchers have been finding these synthetic escapees in our water supplies and are placing the blame on "garments made of polymer-based cloth" which, when washed, can actually shed as many as 1,900 fibers with each washing.  These tiny devils are less than 5 millimeters in length and are not filtered by your washing machine nor water filtration plants.  They are known to have been found in sea water and aquatic life, and you may not want to hear this, but are found in bottled water.  So much for the crystal clean water found only in the Rockies, or maybe France.

So what is being done about this pollution?  It seems as though 2 states, California and New York are proposing bills that would require a warning tag on all garments with more than 50% synthetic fiber content.  Of course, this approach has not been endorsed by the retail manufacturing industry.  Not that it would be an inducement to return to natural fiber clothing for the multitudes buying synthetic clothing.

There were listed 3 temporary solutions promoted by the advocacy group, 5Gyres Institute.
              Firstly, wash you clothing less.  It is true we go a bit overboard with cleanliness, grabbing      our alcohol-based hand cleansers at every opportunity but I shutter to think of that effect on my yoga class.
               Secondly, use a front-loading washing machine (why this is better, I don’t know) but they are much more efficient and use much less water per load.
                Thirdly, there are, somewhere on the market, additional filters that can be added to your machine to catch microfibers.  But then, what do you do with them once they have been captured?

Knowing a problem exists is only the beginning and I doubt the person who tosses (no recycling!) plastic water bottles everywhere and drinks with plastic straws would even care, after all the fibers are only 5 millimeters long!!

Saturday, May 12, 2018

Camelid Fiber - Part Three


Meet the Camelids – Part Three

In my previous blogs I discussed the members of the camelid family: camels, vicunas and guanacos.  Two other species belong to this tribe, alpacas and llamas.

Like vicunas and guanacos, alpacas and llamas are descendents of the Limini branch of the ancient camelids.  While vicunas and guanacos are both wild tribes, the alpacas and llamas have long been domesticated.  Alpacas were domesticated nearly seven thousand years ago, llamas shortly after, both in the Peruvian Andes.  Originally it was thought that both alpacas and llamas were descendents of guanacos, however DNA evidence has shown that the ancestor of llamas is the guanaco, the ancestor of alpacas is the vicuna.

Llamas are used primarily as pack animals and there are three types of SouthAmerican llamas in existence today, the wooly type, the non-wooly type and an intermediate.  While some llamas shed their wool, others have to be shorn and because their fiber tends not to be consistent, it has less of a commercial use.  Frequently their fiber is blended with sheep wool. 


Alpacas are smaller than llamas and are bred for their fiber.  There are two types of alpaca, the Huacaya and the Suri.   The huyaca or “ wooly “type is the most prominent, while only less than 10 percent is suri with long, sleek fibers.  Processing in Peru includes sorting the fibers for natural color shades (22) and several quality grades.  Nearly half the yield is graded as super fine. Each animal will produce 7-10 pounds of fleece per year.
Alpaca textiles are light-weight woven fabrics, stronger than sheep woolen fabrics with a silky luster.  Frequently alpaca fibers are combined with manufactured fibers.



Cute, eh!


Alpaca scarf


Saturday, April 28, 2018

Camelid Fibers Part Two


Meet the Camelids –Part two

In Meet the Camelids (part one – 4-15-18) I discussed the origins of members of the camelid family, namely old world camelids, bactrian and dromedary camels who are descended from a tribe of North American animals, the Camelini.  These animals migrated to Asia across the Bering Land Bridge and became the camels of Asia and Africa.

Today I wish to present the second tribe of the now extinct North American camelids, the Lamini.  This tribe was to become the South American camelids, vicuna, guanaco, llama and alpacas.  The original ancestor Limini gave rise to two independent and distinct populations, both wild: Vicunas and Guancos.

Vicunas, the smallest of the camelids, arrived in South America nearly two million years ago on the altoplano of the Andes mountains.  When the European invasion of South America occurred it was estimated that there was nearly 2 million vicunas, however, over the ensuing years the population dwindled to nearly extinction due to hunting.  The down of the animals is amongst the most expensive in the world and was a forbidden export for international trading.  Now due to the efforts of Peru, Argentina and Bolivia and Chile the numbers have increased to the extent that natives of the Andes are allowed to hand gather the wool and export it legally.  There is some farming of the animals taking place in Argentina, while other countries depend upon gathering the wool from flocks in the wild.  It is possible for vicunas to breed with South American alpacas producing Paco-Vicuna.  This is rare and is not permitted to happen (if it can be avoided) by those wishing to keep the vicuna breed pure and from further extinction.  Since it is thought alpacas are descended from vicunas there has been DNA research to find animals that are alpacas but with vicuna traits.  Since vicunas cannot be exported these animals are being bred instead in North America..  These are also called Paco-Vicunas but are , in reality specially bred alpacas.


Vicunas are the smallest of the camelids with brown body and white bib and underbelly



Guanacos live in the high plains of Chile and Argentina and to a lesser degree in the mountain regions of Equador, Bolivia and Peru.  As with the vicunas they suffered from the Spanish emigration, now numbering around 400,000-600,000.  Although they are considered wild, they are easily tamed and can be found in US zoos and private farms.  They are double-coated, like llamas with soft downy undercoats.  Their fiber, while sparse, is secondary in fineness to vicuna.




Guanacos are the size of a medium llama with brown coats and white underbellies and gray faces.

Sunday, April 15, 2018

Camelid Fibers



Meet the Camelids

The Camelid family originated in North America around 50 million years ago, and one would have thought that camels and their relatives came from Asia or Africa!

Over the years the camelid family branched into two main groups, known as tribes.  One tribe, the Lamini, gave rise to New World camels, which migrated to South America.  The original Lamini tribe became extinct in North America nearly 12,000 years ago and we see their South American descendants as alpacas, llamas, guanacos, and vicunas.  The second main tribe, known as the Camelini (Old World camels) migrated to Asia across the Bering Land Bridge and became the Bactrian and Dromedary camels of Asia and Africa.

Of interest to us textile folks are the camelid fibers, each unique.  Today we will look at camels.

The Bactrian ( 2 humped ) camel perhaps originated in Afghanistan which was called Bactria in ancient times.  Its tan to dark brown hair, as long as 10 inches in length, is shed once a year.  There are both domesticated and wild Bactrian camels, although the wild population is considered engangered.  There are differences between domesticated and wild Bactrians, including some differences in their DNA.

The Dromedary camels (single-humped) are adapted to hot climates and can survive for long periods without water.  However, they produce less useable fiber than Bactrian, although Arvana dromedaries can produce up to 7 pounds of fluff.  The wild dromedaries are extinct so that all dromedaries are domesticated.  In Australia there are large herds that have gone feral, their domesticated parents were brought to Australia in the late 1800’s to access desert areas.

Camels are double-coated.  The coarse hair is very strong and suitably used for ropes, halters etc.  The undercoats are down that can be gathered by hand in the spring or by combing.  The Wool Products Labeling Act classifies camel hair as wool.  It is usually combined with other wool fibers.  Fabric called camel hair is often a twill weave with a deep nap ( or may have a flat finish) and is very soft with a luxurious draping quality.





Some camel friends I met in Morocco

Tuesday, March 13, 2018

Hubert de Givenchy 1927-2018


Hubert de Givenchy  1927-2018

Givenchy has died at the age of 91.  The House of Givenchy released a statement lauding the founder as “ a major personality of the world of French haute couture and a gentleman who symbolized Parisian chic and elegance for more than half a century”.


“Le Grande Hubert” promoted the concept of upscale ready-to-wear mix and match separates.  Probably his most famous “look” was called “the little black dress” , a sleeveless, black evening gown.  Think Audrey Hepburn in Breakfast at Tiffany’s with long, black gloves and a necklace of pearls.

For information on the rise of the House of Givenchy you may refer to my blog “ The House of Givency” 12/19/17.

“A piece of material has a life.  You must never upset it, if you want the material to speak.”          Hubert de Givenchy

Monday, February 26, 2018

Levis -King of Apparel


Today marks the birthday of Levi Strauss (Feb.26, 1829),  the creator of the most widely used article of apparel.  Levis, the first of  many denim pants, can be found throughout the world, from the far East to Oceania and all of the Western world. 

Strauss was born in Buttenheim, Bavaria, in a family of 2 older brothers and 2 older sisters.  He emigrated to the US with his sisters, joining his brothers who had established a wholesale dry goods business in NYC.

In 1853 Levi left New York for San Francisco where he began his own dry goods business, Levi Strauss & Co   Meanwhile, in Reno Nevada a tailor named Jacob Davis had been making work pants using rivets at points of stress for durability and wished Strauss as a partner. In May 1873 they received a patent  for the copper revited pants.

The first material used was a heavy canvas cloth, later denim became the cloth used which was dyed blue with indigo. Denim is a stout, serviceable, twilled cotton fabric.  Standard denim is made with indigo blue-dyed warp and gray filling yarn.  It is the most important fabric of the work clothing group.  However, we are all aware that denim now plays many roles in the realm of fashion.

During his lifeime, Strauss was well known as a philanthropist.  When he died in 1902 he left an estate of nearly $6 million dollars and the business continued as a family concer.

Wednesday, February 7, 2018

Shoddy



Shoddy

Today, this word often means poor quality, poor workmanship.  However, the term “shoddy” is actually a textile term.  Callaway Textile Dictionary defines it as wool fibers that have been made into yarn or fabrics, torn apart and made ready for use again”. This is made possible with the use of a “shoddy or rag picker”, a machine for tearing apart wool rags , clippings, etc., reducing the to a fibrous condition suitable for carding.  The machine consists of a pair of strong, fluted feed rolls between which the material is slowly passed to be acted upon by a large, rapidly rotating cylinder studded with sharp pointed steel teeth or spikes.

In the field of recycling this is what happens to fabrics too worn or damaged to be used again in their present state.  A commentary by Adam Minter in the Santa Fe New Mexican, Monday, January 22, 2018, “No One Wants the World’s Used Clothes”, cites the fate of  over 200 manufacturing plants in Paniput, India which for decades was the world’s largest recycler of woolen garments, a $4 billion trade in used-clothing.
The shoddy was made into cheap blankets for disaster relief, making over 100,000 blankets each day.

What would seem to be a good, as well as worthwhile solution to the glut of useable, but unwanted, fibers has hit an economic snag.  Minter estimated that between 2000 and 2015, global production of clothing had doubled, however the average number of times the clothing was actually worn declined by 36 percent.  This appears to be good news for the shoddy recyclers.  Enter the Chinese manufacturers.  It seems that using modern techniques, the Chinese could produce more blankets, in various colors, selling the new polar fleece blankets for $2.50 (the recycled blankets retailed for $2.00).  So now, Panipat is changing.

The crux of this environmental disaster is that even with production of shoddy at its highest peak there would still be a growing deluge of used clothing entering the market.  Now, with cheap, new fabrics available,  textile manufacturers are attempting solutions by creating new fibers from recycled materials.  This is a long process and quite a challenge.

Tuesday, January 16, 2018

F is for Fortuny

Mariano Fortuny

Recently, well known mystery writer Sue Grafton died at the age of 77.  She titled her books with an alphabetic device – “A is for Alibi”, for example.  I borrowed her idea for several of my blogs.  Today,  “F is for Fortuny”.

Spanish-born textile and fashion designer Fortuny (1871-1949) studied many of the arts: painting, sculpture and photography. His interest in the effects of lighting led to creating stage sets for opera and the theater.  Between 1901 and 1934 he registered more than 20 inventions for stage lighting systems and machinery for the production of textiles.

His fascination with textiles came from his father’s collection of fabrics-including samples of antique materials- and his mother’s preference for the textures and colors of Morocco.

Attuned to all aspects of fabric printing he produced many of his own dyes and stencils, never using the exact design and color palette twice.  Most of his work was monochromatic-the most notable exceptions were block-printed or stenciled designs with gilt or silver pigments.  His material of choice was silk because of its quality, texture and variety of forms and his simple, classic designs were functional as well as non-restricting, which was far removed from the fitted gowns of his contemporaries. 

With doubt his most famous design (1907) was the Delphos dress, a simple, pleated, satin silk that he reproduced for over 40 years.  The finely pleated silk material was sewn in a cylindrical shape with holes for arms and head.  All dresses reached the floor, covering the feet.  An optional belt could be worn at the waist or under the bust.  These dresses were stored by being rolled lengthwise, twisted from both ends creating a coil and placed in a small hat box, which preserved the pleating.  He patented this pleating process in 1909, building a factory in 1922 which is still in operation today.








 Similar in design are these lamps created by Ayala Serfaty in 1984. They were made of hand-dyed, custom crushed Indian silk in a range of rich colors and neutrals and featured in an article “Leading Lights” by Polly Guerin in Art and Antiques magazine, June 2006.